Nathalie Khayat’s exhibition “The Eye Above the Well” featured twenty-seven porcelain and stoneware vessels that were all roughly the size of a person’s torso. Eleven of them were displayed together on a low platform. The rest were placed on waist-high pedestals throughout the space. The effect was sculptural, or rather statuesqueas if one were regarding figurative presences rather than vases. What’s more, every single one of these bodies was damaged in some way: cracked, folded, knotted, torn, punctured, seemingly sutured, or halfway collapsed.